That was it: to my mind this was one of the best Aïdas I have seen anywhere. Following this one-off production was an Aurora Opera House as full as never before. So many elements combined to make this event a truly unforgettable one.

I have to start somewhere so first: the music, fruit of the mature genius that was Verdi, with its darker overtones a distant but distinct forerunner of Otello. The Malta Philharmonic Orchestra, led by Marcelline Agius and directed by Colin Attard were a great team obtaining the right results.
The principals were a formidable element. All of various nationalities but united by music and wielded into a great team.

Thus were soprano Serena Farnocchia in the title role, tenor Antonello Palombi as the heroic Radamès; Oksana Volkova as the sultry Amneris; Vladimir Sazdovski as the powerful high priest Ramfis and the imposing, authoritative Piero Terranova as Amonasro, and Francesco Leone as the King.

All performed their roles to convincingly great satisfaction. They seemed to live them to the full. I’d have had The King made up to look older than he did as the father of Amneris, but anyway, this IS opera. The delivery counts most and did they deliver!!

“That was it: to my mind this was one of the best Aïdas I have seen anywhere.”

While stressing the very good form of all singers, for the sheer beauty of timbre I cannot but remark on Farnocchia’s and Palombi’s. Hats off too to soprano Andriana Yordanova’s off-stage invocations to Ftà. She had also performed before at the Aurora. Arturo Alberto Capraro in the minor role of The Messenger was new to the Aurora Opera House.

The colour and spectacle of Verdian grand opera played a part too. One could not possibly go wrong with sets designed by Zeffirelli and lavish costumes by Anna Anni, combined with the excellent lighting design by Giovanni Paolo Mirenda. The Aurora Opera Chorus was just great, on cue, well-coached by Colin Attard and the extras did well too in the crowd scenes. Two ballet sequences were carried off very well. A briefer one was that of the little children to choreography by Nathalie Farrugia Sciortino of Centrestage Dance Academy. The much longer one in the triumphal scene, was very substantial and choreographed by Diane Portelli of Moveo Dance Company. The audience reacted with a resounding round of applause when it ended.

“The delivery counts most and did they deliver!!”

Definitely NO newcomer to the Aurora, behind all this work on stage was Vivien Hewitt’s stage direction. This formidable Irish but very Italianate lady deserved all the applause she was accorded during the final set of curtain calls. Her energy, commitment and zest are inspiring. She based this production of Aïda on Zeffirelli’s, meant for the intimate setting of Busseto’s small opera house, with no triumphal march and no ballet.

She was determined on providing these and paid tribute, to quote her “…the dance companies…the tireless help of the theatre’s volunteers in the wardrobe, props and production..and the local extras who gave up their time..to march in triumph through ancient Thebes and tend the altar of Isis.”

The heat in the opera house was a bit too much for some. One gripe I came across a lot was that there was too much coming and going and bobbing up and down the main aisle by a photographer. Surely snaps from lateral boxes and zooming could obtain the same results. Just a hint.

Finally, Vivien Hewitt’s tribute reminds me that without the help of these enthusiasts, no opera in Gozo could succeed. Even with all the much-appreciated sponsorships, production costs could soar so much it could to make it impossible to achieve viability. Well done to everybody!